教學大綱
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課程描述

這門課程探討塑造美國音樂舞劇之全球舞蹈傳統的形式、概念、情境。例如，辨析非裔美人的傳統舞蹈如何透過社會空間(social space)轉化為音樂劇。同時，認識美籍舞蹈家如凱瑟玲-鄧連(Katherine Dunham)、艾文-艾莉(Alvin Ailey)、伊莎朵拉-鄧肯(Isadora Duncan)、及開創新局之美籍舞蹈家如瑪莎-葛萊姆(Martha Graham)、喬治-巴蘭欽(George Balanchine)、梅西-康寧漢(Merce Cunningham)等人的創作生平。這門課程特別著重於音樂舞劇中性別與自我生平的建構，以及美籍舞蹈家運用這些特質創作的形式。

首先，透過芬妮-艾斯勒(Fanny Essler)、瑪俐-泰格里昂妮(Marie Taglioni)等芭蕾舞者，循線探索古典芭蕾與現今美國芭蕾之間的淵源。從中了解表演場地的出現、清教徒視舞蹈為「不道德」的排斥、以及對傳統的突破使伊莎朵拉-鄧肯(Isadora Duncan)、洛依-富勒(Loie Fuller)、露斯-聖丹尼斯(Ruth St. Denis)等人，得以創造芭蕾之外、結合音樂的舞蹈形式。另外，這門課程也將揭露現代舞蹈根源中女性獨立自主的脈絡，第一代的代表人物為瑪莎-葛萊姆(Martha Graham)、凱瑟玲-鄧連(Katherine Dunham)、玻兒-普莉邁斯(Pearl Primus)及阿妮莎-迪米歐(Agnes de Mille)。課堂授課與討論都會以分析這些舞蹈家的作品為主，並將他們創作的歷史及政治背景納入考量。學生藉著頻繁的觀賞作業，學習辨識舞蹈設計中的視覺、樂理、動線架構。

本課程的要求和所有人文藝術社會科學推廣課程一致：至少有三份書面作業，總計不得少於二十頁；期末考試由註冊組排定日期，其成績比重很大（總成績的15%以上），且每星期需花ㄧ小時以上進行討論。

必讀文本：

JJonas, Gerald.《舞蹈》(Dancing). New York: Harry Abrams, 1992.

Foulkes, Julia L. 《現代身體：從瑪莎葛蘭姆到艾文艾莉之舞蹈與美國現代主義》(Modern Bodies: Dance and American Modernism from Martha Graham to Alvin Ailey). Chapel Hill: University of North Carolina Press, 2002.

兩場音樂舞劇的入場門票未定。

1. 每星期約閱讀文本五十頁及觀賞表演ㄧ小時。課堂討論參與佔期末成績百分之十。
   
2. 參與至少兩場於波士頓地區演出的音樂舞劇。
   
   
3. 看完指導老師指定觀賞之錄影帶，依下列題目繳交三份七至十頁的書面報告。所有錄影帶皆置於音樂圖書館、部份錄影帶亦放置於課程專用櫃。這些短篇報告佔總成績百分之四十五（即每份百分之十五）。
   
   第一份報告：宗教與社會秩序
   第二份報告：文化傳統與文化認同
   第三份報告：文化融合
   
   
4. 結合網路資料的期中口頭報告－界定一齣美國音樂舞劇為古典藝術。這份期中作業佔總成績百分之二十。
   
   
5. 期末考－學生必須融會貫通整個學期提及之教材。期末考佔總成績百分之二十五。

Syllabus (PDF)

General Course Description

This course explores the forms, contents, and contexts of world traditions in dance that played a crucial role in shaping American concert dance. For example, we will identify dances from an African American vernacular tradition that were transferred from the social space to the concert stage. We will explore the artistic lives of such American dance artists as Katherine Dunham, and Alvin Ailey along with Isadora Duncan, Martha Graham, George Balanchine, and Merce Cunningham as American dance innovators. Of particular importance to our investigation will be the construction of gender and autobiography which lie at the heart of concert dance practice, and the ways in which these qualities have been choreographed by American artists.

In the introductory arc of the class, we will ferret out the roots of classical ballet and its American presence via visiting ballerinas such as Fanny Essler and Marie Taglioni. From this we will trace a rise in performance venues; the Puritan resistance to dance as 'immoral'; and the breaking of tradition which allowed Isadora Duncan, Loie Fuller, and Ruth St. Denis to create a space for concert dance which was not ballet. We will uncover the streak of feminist independence which is at the root of modern dance practice. Martha Graham, Katherine Dunham, Pearl Primus, and Agnes de Mille fit directly into this lineage as first-generation modern dance artists. Class lectures and discussions will analyze works created by these artists, taking into consideration a variety of historical and political contexts which gave rise to their inventions. Frequent viewing assignments will help students identify visual, musical, and kinesthetic underpinnings of choreographic structure.

The requirements for this subject conform to the mechanical requirements for all HASS-D's: There will be no fewer than three writing assignments that will add up to a minimum of 20 pages; there will be a final exam which will be scheduled by the Registrar's Office and which will account for a substantial portion of the grade (no less than 15%); and no less than one hour per week will be devoted to discussion.

Core Texts:

Jonas, Gerald. Dancing. New York: Harry Abrams, 1992.

Foulkes, Julia L. Modern Bodies: Dance and American Modernism from Martha Graham to Alvin Ailey. Chapel Hill: University of North Carolina Press, 2002.

Tickets to two concert dance performances, to be determined.

1. Approximately 50 pages of reading and 1 hour of viewing weekly. Participation in class discussions will account for 10% of the final grade.
   
   
2. We will attend at least two performances of dance concerts in the Boston area.
   
   
3. Three short papers, of 7-10 pages length, on the topics described below in response to a video viewing of American concert work to be determined by the instructor. All viewing assignments will be available at the Music Library, some will be available in our private course locker. Short papers account for 45% of the final grade (15% each):
   
   Paper One - Religion and Social Order
   Paper Two - Cultural Mores and Cultural Identity
   Paper Three - Cultural Fusion
   
   
4. A midterm oral project web-research assignment, defining a work of American concert dance as classical art. The midterm assignment will account for 20% of the final grade.
   
   
5. A final exam, in which students will be asked to synthesize material covered throughout the semester. The final exam will account for 25% of the final grade.